The genre of the concerto arouses certain expectations: You probably have the idea in your mind of a highly virtuosic soloist standing in front of the orchestra and demonstrating his or her breathtaking skills. If you are familiar with the history of the instrumental concerto, you may also think of a formal model. In its forth streaming concert in the Global Concert Hall, the CNZ and the soloists from the ranks of the ensemble will fulfill these expectations as well as break them.
Whether as a heroic protagonist or as the first among equals, soloists can take on very different roles. As diverse as their function may be, they are always a source of inspiration for the group accompanying them.
While Agata Zubel's Violin Concerto is subject to a tense relationship between the struggling individual (soloist Mateusz Szczepkowski) and the two-part group, the Russian composer Dmitri Kourliandski splits the ensemble into 15 individuals, thus leading to a much more open relationship between the soloist (Stephen Menotti) and the musicians surrounding him at different places. Oscar Bianchi's "Anahata Concerto" exudes a joie de vivre that testifies to how much the composer has rid himself of any automatisms of composing, striving for spontaneity and emotion. Finally, the opening work by George Enescu testifies to the composer's ability to meld highly disparate elements into an organic, distinctive narrative that is full of echoes of what culturally surrounded the polyglot Romanian. Enescu is said to have dictated the last bars of his Chamber Symphony – the synthesis of a rich artistic life – to a friend in his tiny Paris flat shortly before his death.